Overshadow

Director Fareed Kairon adds to his growing list of short psychological dramas with Overshadow, a weighty film about the pain of memory, the cost of mistakes and self-introspection undertaken by a protagonist who has never truly confronted his past.

Sahil (Sushant Vasishth) reflects on his former relationship with Meghna (Sukhmanee Lamba). Her suicide many years earlier still haunts him, and he struggles to cope with the signs he ignored of her mental health issues – believing that he could have prevented the tragedy if he had been more attentive. Struggling is difficult enough, but when he starts to be haunted by visions of Meghna, it pushes him to the brink.

Overshadow is a slick, visually pleasing short addressing themes of mental health and trauma that does a solid job of recognising and symbolising the impact of suicide on the lives of friends and relatives, but one that struggles to really maintain a coherent plotline for its themes to wrap around. The impact of a suicide on Sahil is hauntingly powerful – even before the visions of his former lover begin, and the recreation of the events leading up to it give additional power to the later attempts of coming to terms he experiences.

However Sahil’s narrative arc isn’t entirely convincing, with his personal journey and development feeling rushed in parts. Whether it is Meghna’s ethereal spirit that pays him visits years after her death, or his own subconscious that is making him imagine her is never fully confirmed. But his conversions throughout the film feel somewhat convenient and hurried, and her justifications for targeting him similarly feel muddled. It is clear that the film is more of a vehicle for exploring the impact of trauma and regret rather than a logic-driven plot, but Sahil’s own story would be more powerful if some of the plot holes were filled.

Kairon drapes the film in a moody, dusky overlay to match the dark vibe. It’s appropriate given the heavy tone and subject matter, and the exploration with shadow helps add to the fear factor when Meghna’s apparitions begin. By the end it does feel like the director has used it beyond its potential, and the visuals lack stimulation outside of this. But it does help immersion once Sahil’s story is underway.

Overshadow is a solid short, deserving credit for tackling heavy subject matter with tact and taking an engaging stance on important issues. But it is narratively lacking, and its initially solid visual style does risk becoming tiring as the film roles on. It is worth checking out for fans of Fareed Kairon’s previous work and style, and at least brings some worthwhile ideas to the table.